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JAZZ ROCK/FUSION

A Progressive Rock Sub-genre


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Jazz Rock/Fusion definition


  1. Jazz Fusion is jazz that is strongly influenced by other styles of music. Jazz fusion is an ambiguous term that provides the first level sub-set down from Jazz. Jazz rock is a sub-sub set from jazz via jazz fusion. The ambiguity comes from an American tendency through the 90's and until now, to freely interchange jazz rock and jazz fusion, when in fact the latter term covers most hybrids of jazz fused with other forms of music. The roots of jazz rock can be traced back to RnB influenced soul-jazz artists such as Les McCann, Grant Green and Jimmy Smith, and young British jazzers such as Graham Bond, Ginger Baker, John McLaughlin, Jack Bruce, Georgie Fame, who were forced to use electronic instruments because the local club's acoustic instruments were reserved for the older established jazz musicians. Probably the first jazz artists that released recordings that mixed modern rock (circa 60s) with jazz were Larry Coryell, Jeremy Steig, Charles Lloyd, The Soft Machine, and The (Jazz) Crusaders. Meanwhile rock artists such as Cream, Grateful Dead and The Jimi Hendrix Experience were getting a lot of publicity and fame with their lengthy improvisations based on blues, rock, psychedelia and some jazz. These rock artists had an impact on Miles Davis who generated a lot of media attention to this new jazz-rock genre with his Bitches Brew album. From there the genre grew and exploded into numerous different directions. One of these directions was brass rock as exemplified by bands like Dreams, Chicago, BS&T and If. These bands combined elements of jazz, rock and classical music with arrangements for brass and woodwinds.

  2. Many other styles of music have been combined with jazz to create fusion including traditional music from around the world, R'n'B, rock, electronic music and pop music and jazz from Africa, Latin America, India and other places. One of the earliest examples of the use of the term fusion comes from the Indo-jazz fusion of Joe Harriott and John Mayer. Some of the more popular early practitioners of fusion included Weather Report and Herbie Hancock's Sextant. A few years later Shakti appears on the scene and expands the boundaries of fusion further, foreshadowing the World Fusion movement of the 90's.

  3. In part Nu.jazz grew out of the British acid jazz scene of the late 80s and early 90s, whilst modern leaders of nu.fusion cite Miles Davis and Jon Hassell as the godfathers of the genre. As the genre began to develop it took on other influences such as world beat/jazz fusion, psychedelic trip-hop, post-rock and mixtures of ambience with modern jazz. The jazz with electronia experiments that Jon Hassell was conducting in the late 80's, with the likes of Eno, were to be a major influence especially on the dance side of nu.jazz, sometimes known as nu.fusion. Three main elements make nu.jazz different from the more traditional jazz (rock) fusion. First of all there is less of an emphasis on instrumental virtuosity in nu.jazz (especially nu.fusion). Second, more use of electronics (especially skilled turntablism) and studio trickery that emphasizes sound textures. Third, nu.jazz tends to use more modern rhythms such as drum'n'bass, hip-hop, post-rock, and various mixtures of world beat rhythms. Progressive nu.jazz artists such as Bugge Wesseltoft, Nils Petter Molvaer and the Esbjörn Svensson Trio (E.S.T.), combine complicated compositions with modern rhythms to create new unheard of soundscapes - while the former two are leaders of nu.fusion, and with more emphasis on jazz playing, EST have been the leaders in straighter nu.jazz. Nu.jazz is loosely connected to other newer jazz fusion genres, particularly the more progressive live, jazz jam bands such as Medeski Martin & Wood or Garaj Mahal. It may seem that the only difference between the two genres is the country the artist is from or what scene they came up through.li>

Only the most progressive of nu jazz, jazz-rock and fusion artists are listed on Progarchives, although accceptability or not here may vary from person to person. All artists have elements of progressive rock in their music (e.g. Jean Luc Ponty, Bill Bruford or David Sancious) or they represent the most forward-looking and progressive element in their genre (e.g. Miles Davis, Herbie Hancock or Weather Report). It should be noted that those many Canterbury jazz rock fusion bands, e.g. Soft Machine, Soft Works, Soft Heap, Soft Machine Legacy, Gilgamesh etc. are to be found under the CANTERBURY heading in Prog Archives.

Dick Heath
John 'Easy Money'
Martin 'Alucard' Horst
(Edition 3.2. Nov 2009)

Current Team Members as at 12/24/14

Evolver (Scott)
Man With Hat (Phil)
Darkshade (Mike)
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Jazz Rock/Fusion Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Jazz Rock/Fusion | More Top Prog lists and filters

4.36 | 706 ratings
KIND OF BLUE
Davis, Miles
4.35 | 966 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.35 | 492 ratings
IN A SILENT WAY
Davis, Miles
4.38 | 177 ratings
TIME CONTROL
Uehara, Hiromi
4.60 | 43 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.35 | 183 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.30 | 400 ratings
SPECTRUM
Cobham, Billy
4.27 | 446 ratings
BITCHES BREW
Davis, Miles
4.26 | 705 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.25 | 588 ratings
ELEGANT GYPSY
Di Meola, Al
4.34 | 110 ratings
MODRÝ EFEKT & RADIM HLADÍK
Blue Effect (Modrý Efekt; M. Efekt)
4.24 | 518 ratings
CARAVANSERAI
Santana
4.24 | 392 ratings
ABRAXAS
Santana
4.24 | 460 ratings
ROMANTIC WARRIOR
Return To Forever
4.33 | 104 ratings
STADACONÉ
Sloche
4.32 | 108 ratings
MILESTONES
Davis, Miles
4.32 | 102 ratings
SVITANIE
Blue Effect (Modrý Efekt; M. Efekt)
4.36 | 69 ratings
BIG FUN
Davis, Miles
4.25 | 181 ratings
THE WAY UP
Metheny , Pat
4.23 | 242 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.26 | 147 ratings
MAIDEN VOYAGE
Hancock, Herbie
4.23 | 241 ratings
CROSSINGS
Hancock, Herbie
4.37 | 60 ratings
ALMA DE DIAMANTE
Spinetta Jade
4.24 | 190 ratings
LES PORCHES
Maneige
4.39 | 54 ratings
L'AXE DU FOU
Forgas Band Phenomena
4.29 | 91 ratings
SVěT HLEDAčů
Blue Effect (Modrý Efekt; M. Efekt)
4.24 | 145 ratings
TILT - IMMAGINI PER UN ORECCHIO
Arti e Mestieri
4.33 | 68 ratings
DARK SHOT
One Shot
4.19 | 277 ratings
VALENTYNE SUITE
Colosseum
4.24 | 126 ratings
HARAKKA BIALOIPOKKU (AKA B THE MAGPIE)
Pohjola, Pekka
4.42 | 42 ratings
QUALIA
Syrinx
4.22 | 154 ratings
A TRIBUTE TO JACK JOHNSON
Davis, Miles
4.22 | 146 ratings
WHAT IF
Dixie Dregs
4.26 | 94 ratings
'ROUND ABOUT MIDNIGHT
Davis, Miles
4.22 | 134 ratings
VISITATION
Pohjola, Pekka
4.73 | 18 ratings
REALIZATION
Henderson, Eddie
4.40 | 39 ratings
FABULIS MIRABILIBUS DE BOMBYCOSI SCRIPTIS
Kenso
4.24 | 91 ratings
OFFRAMP
Metheny , Pat
4.16 | 237 ratings
HYMN OF THE SEVENTH GALAXY
Return To Forever
4.63 | 21 ratings
TERJE RYPDAL
Rypdal, Terje
4.20 | 131 ratings
MYSTICAL ADVENTURES
Ponty, Jean-Luc
4.22 | 97 ratings
EROTIC CAKES
Govan, Guthrie
4.19 | 134 ratings
J'UN OEIL
Sloche
4.33 | 47 ratings
LEB I SOL 2
Leb I Sol
4.40 | 36 ratings
AGITOR LUCENS V
Arco Iris
4.23 | 81 ratings
MILES SMILES
Davis, Miles
4.17 | 157 ratings
FAIRYPORT
Wigwam
4.49 | 26 ratings
IZVIR
Izvir
4.16 | 145 ratings
THE LOST TRIDENT SESSIONS
Mahavishnu Orchestra
4.35 | 39 ratings
YELLOW FIELDS
Weber, Eberhard
4.23 | 73 ratings
DEDALUS
Dedalus
4.15 | 155 ratings
QUANTUM
Planet X
4.29 | 47 ratings
DEDICATED TO YOU, BUT YOU WEREN'T LISTENING
Tippett Group, Keith
4.12 | 260 ratings
UNORTHODOX BEHAVIOUR
Brand X
4.23 | 66 ratings
SENTIMENTS
Iceberg
4.28 | 47 ratings
EWAZ VADER
One Shot
4.19 | 81 ratings
AS FALLS WICHITA, SO FALLS WICHITA FALLS (WITH LYLE MAYS)
Metheny , Pat
4.12 | 199 ratings
AJA
Steely Dan
4.50 | 23 ratings
SPEAK NO EVIL
Shorter, Wayne
4.22 | 64 ratings
4TH
D.F.A.
4.25 | 56 ratings
ORGANIK
Niacin
4.11 | 235 ratings
ONE OF A KIND
Bruford, Bill
4.10 | 265 ratings
SANTANA
Santana
4.71 | 15 ratings
THE FOLLOWING MORNING
Weber, Eberhard
4.12 | 165 ratings
WHERE HAVE I KNOWN YOU BEFORE
Return To Forever
4.25 | 52 ratings
RAHMANN
Rahmann
4.14 | 122 ratings
CHICAGO (AKA CHICAGO II)
Chicago
4.20 | 70 ratings
INDÍGENA
Mar de Robles
4.15 | 106 ratings
SECRET STORY
Metheny , Pat
4.78 | 13 ratings
HALLUCINATION ENGINE
Material
4.55 | 19 ratings
THE HOOK
Tolonen, Jukka
4.23 | 52 ratings
FERMÁTA
Fermáta
4.24 | 51 ratings
WE KEEP ON
Embryo
4.12 | 131 ratings
SEXTANT
Hancock, Herbie
4.16 | 82 ratings
NEFERTITI
Davis, Miles
4.29 | 38 ratings
RUCNI RAD
Leb I Sol
4.59 | 17 ratings
RITES
Garbarek,Jan
4.25 | 43 ratings
CRNA DAMA
Smak
4.18 | 65 ratings
PIHKASILMÄ KAARNAKORVA
Pohjola, Pekka
4.73 | 13 ratings
Вижу Землю (LOOKING AT THE EARTH)
Gunesh Ensemble
4.07 | 197 ratings
MORROCAN ROLL
Brand X
4.11 | 102 ratings
METAL FATIGUE
Holdsworth, Allan
4.52 | 18 ratings
SINFONIA NO.1
Pohjola, Pekka
4.16 | 67 ratings
LAMBERTLAND
Tasavallan Presidentti
4.19 | 51 ratings
OH YEAH!
Hammer, Jan
4.16 | 64 ratings
KING CRIMSON SONGBOOK, VOLUME ONE
Crimson Jazz Trio
4.12 | 92 ratings
HUASCARAN
Fermáta
4.15 | 67 ratings
AFTER THE EXHIBITION
Wrong Object, The
4.12 | 84 ratings
CINQUE
Deus Ex Machina
4.21 | 45 ratings
BELIEVE IT
Williams Lifetime, Tony
4.08 | 121 ratings
MASQUES
Brand X
4.15 | 59 ratings
PORGY AND BESS
Davis, Miles
4.17 | 51 ratings
VOLUME 1: CONTRE COURANT
Opus-5
4.16 | 54 ratings
STRAIGHT TO THE KRANKENHAUS
Secret Oyster
4.05 | 184 ratings
BLOW BY BLOW
Beck, Jeff
4.41 | 21 ratings
DIUMENGE
Companyia Elèctrica Dharma
4.11 | 78 ratings
33
Blue Effect (Modrý Efekt; M. Efekt)
4.26 | 33 ratings
SUDAMÉRICA O EL REGRESO A LA AURORA
Arco Iris
4.13 | 61 ratings
WATERCOLORS
Metheny , Pat
4.22 | 37 ratings
GATEWAY
Abercrombie, John

Jazz Rock/Fusion overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Jazz Rock/Fusion experts team

CRNA DAMA
Smak
BIRTHDAY
Extra Ball
DESCENDRE
Rypdal, Terje
CAMINO DEL CONCIERTO
Guadalquivir

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Latest Jazz Rock/Fusion Music Reviews


 Sun Rotation by ASSOCIATION P.C. album cover Studio Album, 1971
4.00 | 9 ratings

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Sun Rotation
Association P.C. Jazz Rock/Fusion

Review by Suedevanshoe

4 stars Guldbamsen's review of this album is the best review I've read of any record ever. Scratch that, it's my favorite record review ever. Of course it partially because it's spot on, but mostly because it's a splendid recounting of the feelings conveyed by the music. Read it if you have any interest in checking out this first wave freeprogfusion anomaly.

Many top progressive artists and albums are sorely underexposed, and this is at the top of that list. A former college professor once told his class "the real information in any context is contained between the margins and in the footnotes". Association P.C. epitomizes and romanticizes this concept. Anybody with a degree of interest in the history of German music will find appeal in this record.

Classic Germanesque/Canterbury freakprog like a meld of Soft Machine and Faust.

 Screaming Headless Torsos [also known as 1995] by SCREAMING HEADLESS TORSOS album cover Studio Album, 1995
4.48 | 12 ratings

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Screaming Headless Torsos [also known as 1995]
Screaming Headless Torsos Jazz Rock/Fusion

Review by marcobrusa

4 stars Great sounding album with interesting mixture of funk, jazz, rock and avant-garde. Better said, i think this is funk with rocky guitars, crazy vocals and fusion moments with a touch of experimentation. The rhythm section is super groovy and the guitar work is eccentric, many times like Discipline (KC) and sometimes indescribable and absolutely original. When I heard this album for the first time I thought it was too experimental to be considered just a funk album despite the catchy groovieness it has. It was a good idea to add Screaming Headless Torsos to Progarchives i guess (I only heard this album by them, though). Plus, I know Fiuczynski from Hiromi's Time Control (he did a great job in that album too). Is this progressive? I don't know, but it is a fusion of genres and it is very original and sounds awesome! 3.75/5
 Svitanie by BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) album cover Studio Album, 1977
4.32 | 102 ratings

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Svitanie
Blue Effect (Modrý Efekt; M. Efekt) Jazz Rock/Fusion

Review by maryes

5 stars Between the four albums from M Effekt that I have (Hadin Hladik & M Effekt, Svietanie, Svet Hledacu and 33) I think this one is superior by the others, even in relation to Svet Hledacu, another fantastic album. The inclusion in their line up of Fedor Freso(Bass guitar) and Oldrich Vesel' (Keyboards Vocals) contributes for a more symphonic progressive rock approaching in detriment of jazzy vein presents in their previous album... This affirmation is notable soon at the first track "Vysok' stolicka, dlh' popol" starting with a fantastic keyboard introduction follow by a "broken" guitar/drums/bass sequence and a majestic and simple hammond chords making a sumptuous overture from a incredible chain of musical "landscapes" in a very complex composition, I can't detach any passage in special, but, one beautiful moment starts around 4 min 25 sec with a pedal volume guitar with a bass guitar making a counterpoint, this track are full of retakes of previous themes 'crowning" a perfect arrangement .The track 2 "Ej, pad', pad' rosenka " is one of more beautiful ballads ( with a great guitar solo). The track 3 "V sobotu popoludn'" is more close of jazz-rock and shows a passage (starting 2 min 08 sec.) with a certain Gentle Giant "flavor". In Track 4 "Svitanie" is a mix of psych- prog/hard rock and blues... simply brilliant ! The Bonus track "Gollem" is a heavy-prog with a melancholic end. In my opinion this album is essential in any prog collection !!!
 Countdown To Ecstasy by STEELY DAN album cover Studio Album, 1973
3.99 | 135 ratings

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Countdown To Ecstasy
Steely Dan Jazz Rock/Fusion

Review by cfergmusic1

4 stars Two things happened after Steely Dan released their previous album, "Can't Buy a Thrill" in 1972: First, upon completion of the record, Becker and Fagen discovered that, to their great displeasure, they actually had to go out on tour to support the record (shock! horror!), which they did, enduring all that went on during these tours with commendable patience (mostly). The second thing was that lead vocalist David Palmer was fired from the band in the midst of these road gigs, after doing certain things that did not exactly endear himself to the rest of the band (some of these actions would qualify as "too much information" and will not be repeated here). As a result, "Countdown to Ecstasy" would be the only Steely Dan album specifically written for a working band, mostly because sessions for the album had to be done in between gigs.

I should mention (in case you don't know) that chief songwriters Walter Becker and Donald Fagen share a love of jazz music and have been incorporating their influences into their songs even from the beginning. The reason I didn't mention it in my review of "Can't Buy a Thrill" is because it really seems more appropriate when discussing this album, one of very few SD albums wherein they just "stretch out" and go on extended jams for most of the album's length. Perhaps because of all this, Donald Fagen himself claims this to be his favorite Steely Dan album ever. I'm not sure I agree with that entirely, but it does represent an artistic growth for the band after their solid, yet slightly inconsistent, debut.

"Bodhisattva" gets things started with a quasi-jump-swing drum beat by Jim Hodder, after which comes the extended multi-tracked guitar intro. Fagen (now the full-time lead singer) claims to want to be in touch with higher planes of religion, although given the tone of the song, one suspects his motives are just a tad misguided. Denny Dias has the first guitar solo, a burnin', jazzy romp through the altered blues changes. Jeff "Skunk" Baxter trades licks with Fagen's synth (an ARP Odyssey which he allegedly destroyed immediately after recording this track) and rides the outro vamp in another guitar solo that comes to a crashing end, proof that the song was built more for live performance than anything else. Because of the pseudo-jazz nature of the tune, it has been covered by Brian Setzer, Toto, and other less reputable individuals. (Also check out the drastic change in tempo at the start of Dias' solo--something that somehow managed to slip by the studio perfectionists Becker and Fagen.)

"Razor Boy" is a breezy, Latin tune that, apparently, was originally written as a reggae(?). This song is probably the most interesting in terms of rhythmic feel and instrumentation: there is Latin percussion and vibraphone, contrasting with countrified steel guitar from Baxter and string bass by jazz great Ray Brown. The lyrics, which seem to be about reflecting on one's last days, somehow don't get in the way of the good feel of the music. A real sleeper track.

"The Boston Rag" is a more direct, although slower, rock tune beginning with another proggy moment in the intro: Denny's guitar line is played in unison and harmonized with Fagen's piano. The real highlight of the track is Baxter's guitar solo played over a start-stop rhythm for the first 12 bars, then with the full band for the second half of the solo. I've always loved this one, even if the lyrics are a bit over my head (although part of it seems to be about one of Fagen's roommates at Bard College).

"Your Gold Teeth" is the longest tune on the record (seven minutes) and also the one that feels the most like a jam session. Between the two bridges, we are treated to a great Wurlitzer solo by Fagen (who needs studio cats when you can play that good?), and Denny Dias is featured on guitar at about twice his regular volume. It's basically only one chord for most of the tune, but Steely Dan makes the most out of that one chord. Check the outro groove, where Fagen has another go at the electric piano and even Hodder gets some good licks in.

Speaking of one chord, "Show Biz Kids" is literally one huge one-chord vamp, fashioned out of a four-bar tape loop, put together in the studio through the use of a special apparatus that extended the tape out of the studio and back in again. Honestly, it's a miracle that this track is able to keep me engaged throughout its length, considering it's just five minutes of the same thing. (Although the slide guitar solo by Rick Derringer probably helps out a lot.) Walter Becker plays a bit of harmonica over a rabble of spoken-word in the outro (which references the band's search for a lead singer, as Fagen was still uncomfortable with the idea). My favorite line and the one that almost got me in trouble when I first heard it at 8 years old: "Show business kids making movies of themselves/You know they don't give a f*** about anybody else."

"My Old School" was the big hit of the album (albeit after the fact). The lyrics, autobiographical or not, touch on the subject of leaving school and not considering going back (something I can relate to very well). Baxter gets off probably his Skunkiest solo ever on a guitar he had only finished making three hours before the session, backed by a sax quartet arranged by Jimmie Haskell. (The first time I heard it, I thought it was a brass section--a testament to how Haskell can make certain instruments sound like nothing else.) Although released as a single, it was ignored at the time but has become something of a fan favorite in the past 30 or so years (certainly one of mine).

"Pearl of the Quarter" shows us (not for the first or last time) that yes, Steely Dan could do full-on country when they wanted to. Remember, their first single (not released on an album) was basically a country tune--"Dallas"--and the steel guitar break here even references the break on that song! (Who says the Dan didn't have conceptual continuity?) Lyrically, the song is about a man who falls in love with a hooker in New Orleans, something that probably wouldn't fly in Nashville (when was the last time you heard a George Strait song about prostitution?). Hardcore prog fans may not like this song too much, but I love it because I grew up on country music (and still like some of it today).

"King of the World" is the finale of this album, and it is fitting that it is about a man who is the last person on Earth after a nuclear attack (Becker and Fagen apparently wrote this song after seeing a movie about that very subject). Baxter contributes a recurring guitar line fed through an Echoplex while Dias fills over those lines in the verses. Another "prog" moment for the Dan comes in the instrumental section with synth lead and more voices with echo (which apparently was just Becker screwing around in the echo chamber). This section repeats for the outro under one of Dias' best solos.

It is rather curious that in the adventurous 70s, this album didn't do that well in spite of positive critical opinion. The two singles ("Show Biz Kids" and "My Old School") didn't make much of a mark, mainly because radio stations didn't know quite what to make of them. Over time, however, the legacy of "Countdown" continues to grow because of the aforementioned covers of "Bodhisattva" and the increasing popularity of "My Old School." This was probably the most diverse album the band ever made; they certainly never did any country stuff after Baxter left (more on that in another review). The spirit of musical freedom permeates every minute of this record, and if that appeals to you as a listener, I definitely recommend this album. 4.5 stars out of 5.

 Can't Buy a Thrill by STEELY DAN album cover Studio Album, 1972
3.50 | 127 ratings

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Can't Buy a Thrill
Steely Dan Jazz Rock/Fusion

Review by cfergmusic1

4 stars For my first reviews on ProgArchives, I thought I might do well to start off with my favorite band of all time, Steely Dan. People tend to think of them as a jazzy "cool pop" group (especially the later material), but to my ears, they had just as much prog credentials as anyone else back then, even if they weren't designated as such (although it took me a while to agree with that sentiment, and even Fagen and Becker would probably still cringe at the idea). Whatever the case, Steely Dan is a band that is very special to me, and as long as they're on the site, I may as well commit myself to saying a few words about them.

The first incarnation of the band (exhibited here) was, well, an actual band rather than the collection of studio musicians it would become (although there are hints of that even on this album). The group consisted of main songwriters Donald Fagen and Walter Becker on keyboards/lead vocals and bass guitar, respectively; Denny Dias and Jeff "Skunk" Baxter on guitars; Jim Hodder on drums and occasional lead vocals; and David Palmer on occasional lead and background vocals. The reason for the "occasional" lead singers is that Fagen was very apprehensive at first about being a front-man and singer, and only did so out of necessity later on (so he says). The album is also graced by the appearances of percussionist Victor Feldman (who played piano with jazz saxophonist "Cannonball" Adderley's group) and guitarist Elliot Randall, among others.

We start off with "Do It Again," the first (although not the only) big hit for the band. Lyrically, it's something of an Old West "murder, failed hanging, get cheated on by your lover and find another one who also screws you over, and go to Vegas to gamble what little you have left" kind of story. (Not your typical "single" material, but hey, things were different in 1972.) The track rides a groovy carpet of Latin percussion throughout, bolstered by solos from Dias on electric sitar (the one and only time he ever played the instrument) and Fagen on Yamaha electone organ. (The glisses on that solo come from a felt strip on the keyboard and not from a pitch-bend wheel.) One of the defining moments of the band for sure.

"Dirty Work" is more on the softer side of things, being somewhat reminiscent of Three Dog Night who were Steely Dan's stablemates on the ABC Dunhill label at the time. David Palmer makes one of two recorded appearances on the record and for the band in general (although he handled all the lead vocals in concert). A gentle tune with somewhat dark lyrics and cool extensions just before every chorus. The track is helped out by two LA studio horn players, Jerome Richardson on sax (who has the solo) and flugelhornist Snooky Young.

"Kings" is claimed to have "no political significance" by the composers, although it seems to be about medieval royalty (good kings "Richard" and "John"). If it is based on an actual historical event, I don't know which one. No matter, as the real highlight of the track is a scorching, overdubbed guitar solo from Elliot Randall, to my ears maybe his best with SD (which is saying something considering he also soloed on "Reelin' In the Years"). The bright production/mixing on this track seems to give it a sunnier vibe than the lyrics would suggest (which is the case with the album in general).

"Midnite Cruiser" features one of only two Jim Hodder lead vocals with the Dan (the other was on "Dallas," a country-flavored non-album single). Prior to joining this group, Hodder drummed and sang lead for a Boston-based prog band called Bead Game (which I hope to review sometime in the future). Interestingly, he sounds somewhat like a cross between Phil Collins and Peter Gabriel (both of Genesis at the time). Not one of SD's better-regarded tracks (although I love it dearly), but it is helped out by Baxter's rockin' guitar solo, as well as the vague reference to jazz pianist Thelonious Monk in the very first line ("Felonius, my old friend...").

"Only a Fool Would Say That" is another Latin jazz-flavored portrait to close out side one. One of the remarkable things about Steely Dan is how the dark, somewhat pessimistic lyrics contrast with the sunny-side-up nature of the music, exemplified brilliantly by this song ("a world where all is free... only a fool would say that"). Dias' guitar solo is reminiscent of Wes Montgomery here, and Baxter gets in some spoken-word Spanish at the tail end (which apparently came from a beer commercial the band was working on at the time).

"Reelin' in the Years" kicks off side two and is probably the most well-known of the earlier material (excepting maybe "Rikki Don't Lose That Number"). I'm not sure I agree with the "classic" status of the song, maybe due to overexposure, but it's still great fun to listen to and those vocal harmonies in the chorus are amazing. Randall gets off another solo here, this time spread out over pretty much the entire song (except for the verses). If you can track down the Quadraphonic mix of this album, you have the benefit of hearing more guitar fills behind the choruses if you're into that sort of thing.

"Fire in the Hole" is probably the strangest one yet, built on a slow, somewhat slick half-time groove with lumbering piano. (Not sure what the lyrics are supposed to refer to: Vietnam maybe?) Fagen has the only actual piano solo on the record, a gem of understated brilliance. Baxter rides a pedal-steel solo over the fade-out, not the last time we'd hear him on that particular axe. I was always more into the "deep cuts" from the band's early days, and if I had any inclination to make a "top 5 SD songs" list, this would have been on it for sure (of course the order would have changed from day to day).

"Brooklyn" is a holdout from the Becker and Fagen demo tapes, retooled significantly for this album (the demo is at a slower tempo and sounds a lot like a Bob Dylan track from that time). Palmer sings lead on this tale about a blue- collar worker and his wife who live out their existence in some hole-in-the-wall apartment in the titular borough of New York City and feel that they are entitled to a better way of living. Baxter is featured on steel guitar throughout, lending the track a country-rock flavor (although with just a bit more sophistication than the contemporaneous Eagles).

"Change of the Guard" shows how much Becker and Fagen wanted to find an audience for their material when they came to LA from New York (this was one of their first demos on the left coast). The lyrics are about as cheerful and optimistic as the band would ever get (right down to the "la-la-la"s in the chorus), and Baxter has another solo on the six-stringed axe, a flash that points to later solos like on "My Old School" (uncharacteristically for the band, the solo ends with a pick scrape on the lower strings that takes full advantage of the stereo mix).

"Turn That Heartbeat Over Again" is undoubtedly the album's most complex track (although not overly so) and probably the one I would point to when describing the band's "prog" status. The track is peppered with strong chord changes and transitions throughout, most notably in the verses and the instrumental section. The latter is possibly the highlight of the record, featuring a beautiful melody doubled by Baxter's guitar and Fagen's organ from "Do It Again" (identified as a "plastic organ" in the album credits). The song closes with a jolt of harmony vocals by Fagen, Becker and Palmer followed by wind chimes (?) over the last chord, and so ends "Can't Buy a Thrill".

I think this is a solid record and if it's not the best debut album ever, it comes very close. I still get a great deal of satisfaction and nostalgia when listening to any Steely Dan record, and even if "Do It Again" and "Reelin'" are a bit overplayed, they're still objectively great songs. The discerning listener will find much to enjoy in the other tracks as well, and if you're looking for jazz-infused rock with a sarcastic, biting lyrical bent (or if you're already into these guys and you just want more of the same), I recommend this album highly. 4 stars out of 5.

 Elephant9 with Reine Fiske: Atlantis by ELEPHANT9 album cover Studio Album, 2012
3.89 | 24 ratings

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Elephant9 with Reine Fiske: Atlantis
Elephant9 Jazz Rock/Fusion

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Norwegian trio Elephant 9 offer their most dense, complex and varied work to date with their third studio album `Atlantis'. Joined by quietly renowned guitarist Reine Fiske of Dungen, Landberk and the defining Paatos release with their debut `Timeloss', this instrumental album is endlessly delirious, aggressive and deeply immersive. The comparisons in the past to Emerson, Lake and Palmer are mostly vanquished, instead the band offer something far more deranged and messy, very heavily psychedelic and, if anything, some evocative and subtle ambient passages and wilder sonic outbursts share more in common with Krautrock, a factor only deliciously highlighted by the stripped back and occasionally murky production.

With an ominous foghorn-like beckoning and a rattle of intent, opener `Black Hole' tears the album to life, a battery of ferocious unceasing pummelling drums, blitzkrieg Hammond, Fender Rhodes and piano runs and bass so thick it's virtually a slab of concrete, all lurching in and out of the dirtiest of unexpected grooves. `The Riddler' opens crystalline and dream-like before racing through a propulsive heavy groaning blast of Hammond fury, with a tasty spiralling Rhodes melody weaving around. Fiske now enters the album for the twelve minute title track, a gradually unfolding kraut/heavy psych improvisation of droning guitar and Hammond organ atmospheres that initially reminds of little traces of the spiritual era Santana band albums and early Pink Floyd, before taking a darker turn with a building drum-beat, stalking bass, unhinged electric piano and distorted guitar grinding bristling with danger.

The gentle acoustic guitars and shimmering electronics of `A Foot in Both' call to mind both the early Agitation Free and Popul Vuh albums, and the aptly named ten minute `Psychedelic Backfire' is an infernal march of harsh electronic drones and crushing plodding electric guitar doom before settling into slinking bass and Hammond grooves. `A Place in Neither' is an almost funky and brisk fusion interlude, and the album closes on a near-fourteen minute jam `Freedom's Children', a frantic, fun and relentless crash of acid rock fuzzy wailing guitar fire, thrashing driving beats, swirling keyboard violations and grumbling pulsing bass all swept up into a vacuum of noise.

`Atlantis' demands endless replays to truly appreciate, an Initially quite intimidating work that takes it's time to reveal so many subtle layers in amongst all the noise and bluster. It's sure to be a more divisive work for followers of the band, and probably those interested in the E.L.P-like qualities often associated with the group will be in for a bit of an abrupt shock, and very likely may want to put their heads through the wall! But the album is an absolute triumph of exploratory heavy prog, and is Elephant 9's defining statement to date.

Four stars.

 East Wind Pot by EAST WIND POT album cover Studio Album, 2006
3.13 | 4 ratings

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East Wind Pot
East Wind Pot Jazz Rock/Fusion

Review by b_olariu
Prog Reviewer

3 stars One of the bands that gone under the radar in prog circles from Japan in last decade is for sure East Wind Pot. Formed more then a decade ago by keybordist from another japanese band named Theta. The music offered is quite intresting combining canterbury flavours with jazzy interplays in an unique japanese manner. The selftitled album was released in 2006 graced by an intresting art work i might saying. All pieces are more then ok with nice shifting moods, nice sax passages an avesome guitar parts, the opening Dr.Bloodmoney is a perfect example. All in all anice under rated release that needs I think little more recognition. For me a good one from start to finish, 3, 5 stars easy.

 Brass Rock 1 by HEAVEN album cover Studio Album, 1971
3.00 | 1 ratings

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Brass Rock 1
Heaven Jazz Rock/Fusion

Review by Fassbinder

— First review of this album —
3 stars Horns... The album with the simple name "Brass Rock 1", recorded in 1971 by the British band called Heaven, is, in fact, their one and only album. This short-lived group may be seen as a project due to large number of musicians and instruments used during the recording, considering also the fact that because of its size the group had difficulties with touring and concentrated more in studio recording. As suggested by the name of the album, what we hear is brass-rock - exactly the kind of music one expects from the group with so massive horn section, including five people playing different kinds of saxophones, trumpets, trombones, clarinets, flugelhorns, flutes and so on. Besides this, there are also piano, drums, guitars and bass, plus some vocals in most tracks, which together sounds like a mini- orchestra. The vocal parts remind me of such groups as If or Colosseum. The music is pretty variative, from some (almost) hard-rock played energetically, where guitars and drums are dominating instruments, supported by the furious horn section, to some pastoral motifs (like in "Morning coffee"), where the mild sound of a flute is the prominent one. Although there is nothing groundbreaking in their music, the overall feeling after the listening is quite nice, if you like jazz-rock in general and brass-rock in particular, of course. So those who like the archival prog from the early 70s should pay attention to this album, released by Esoteric records some years ago.
 Rahmann by RAHMANN album cover Studio Album, 1980
4.25 | 52 ratings

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Rahmann
Rahmann Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars RAHMANN is a rarity in the world of progressive music. While the jazz-fusion genre is filled with a ridiculous number of variations on themes and sounds, no one else to my knowledge has taken the sub genre into the world of the Middle East where bellydancers, progheads and jazz-fusionists can coincide in harmonic bliss but on this one-shot album that emerged from France in a the time-out history of prog and jazz, they can, well at least at times. While this band was formed in France, the main member Mahamad Hadi was born in Algeria and raised in France but never really let the best of his former culture behind. This is an authentic fusion where the tapestry of influences are firmly woven tightly together and not just the filled with embellishments on top of an already established sound.

The music is quite the interesting mix. While the violin and song structures can remind a bit of the Mahavishnu orchestra with their complex and strange repetitive bizarre riffs, there is a distinct zeuhl sound in the rhythmic department due to the fact that former members of Magma were on board to deliver the strong and frenetic backbone. Both Didier Lockwood (violin) and Liza Deluxe (vocals) from Magma help out as does Gerard Provost (bass) from Zao thus delivering a strong Kobaian influence. Add on the myriad Middle Eastern instruments such as the oud, bouzouki, snitra and we have a recipe for some intricate and wonderfully flowing music that snakes across your consciousness like the Nile slinking through the dusty lands.

Perhaps the strongest aspect of this album is the diverse sounds of each track. While the opener "Atlanta" almost sounds like a traditional of Northern Africa with slight progressive jazz-fusion overtones, the songs ratchet up the progressiveness as they march on. "Danse Sacrée" is the most obvious reference to the Mahavishnu Orchestra but what i love about this album is just how each track stands on its own merits with some bringing certain influences to mind and others really displaying a streak of independence that almost seems as timeless as the Semitic languages themselves. Because Balkan gypsy type music sounds like Middle Eastern music, sometimes this can remind me of avant-proggers Area as well.

While the Algerian sounds are supplemental, this is through and through a progressive jazz-fusion album with Middle Eastern instruments on board lending a hand to the most spectacular fusion-fest of two totally disparate cultures. Perhaps the one complaint i have for this album is that it is not adventurous enough for my tastes for i have been utterly spoiled by the unadulterated explorative possibilities of the Gunesh Ensemble and this seems a tad tame in comparison, but despite not creating that subway to Venus that i would hope for, i am still very much impressed by the uniqueness that this sole album by RAHMANN distills from its sources.

 Hasta Karma by BUDJANA, DEWA album cover Studio Album, 2015
3.98 | 16 ratings

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Hasta Karma
Dewa Budjana Jazz Rock/Fusion

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Indonesian guitarist and composer Dewa BUDJANA is a veteran artist, who has been active as a musician for just about three decades at this point. Besides being active in different bands, he's also a fairly productive solo artist, and the last few years have seen him release a new solo album on a yearly basis. "Hasta Karma" is his eighth solo album, released in 2015 by the US label Moonjune Records.

"Hasta Karma" comes across as a well developed production where a lot of thought and many emotions have been invested into the material, with top-notch musicianship seeing to it that the subtle nuances that appear to be a key feature of Dewa Budjana's compositions are all explored expertly. Instrumental jazz rock with an emphasis on jazz is the style of choice, smooth and easy on the ears on a superficial level, but with added depths and streaks of darkness to be revealed for the careful listener immersing themselves in the material. A polished, well made album all in all, and one easily recommended to those with an affection for instrumental jazz rock.

Data cached

Jazz Rock/Fusion bands/artists list

Bands/Artists Country
3RD WORLD ELECTRIC Multi-National
4 FRONT United States
7 FOR 4 Germany
EIVIND AARSET Norway
JOHN ABERCROMBIE United States
ABLUTION Sweden
ABUS DANGEREUX France
ACCORDO DEI CONTRARI Italy
ADDISON PROJECT Canada
AERA Germany
AFROSKULL United States
AGHARTA Canada
AGORA Italy
AIN SOPH Japan
AKA MOON Belgium
JAN AKKERMAN Netherlands
ALAS Argentina
ALKEMY France
ALKOTRIO Russia
ALTRUISMOS Argentina
AMARILLO CIAN Y MAGENTA Costa Rica
AMIGDALA Italy
ANAMORPHOSE France
APOSTOLIS ANTHIMOS Poland
ANTIHÉROE Argentina
APOTHECARY United States
AQUARELLE Canada
ARATTA REBIRTH Armenia
ARCANA United States
ARCHIMEDES BADKAR Sweden
ARCO IRIS Argentina
NEIL ARDLEY United Kingdom
BRUCE ARNOLD United States
ARSENAL Russia
ARTI E MESTIERI Italy
TIHOMIR POP ASANOVIC Yugoslavia
ASSOCIATION P.C. Multi-National
ASSOLO DI BONGO Italy
ASTRAKAN United Kingdom
ASTRO CAN CARAVAN Finland
ATMOSPHERES Multi-National
ATTENTION DEFICIT United States
BRIAN AUGER United Kingdom
AUM Brazil
AURORA United States
AVANT GARDEN United States
AVIOLINEE UTOPIA Italy
AXIS Greece
AYERS ROCK Australia
AZIGZA United States
B F Estonia
BAALBEK Argentina
BACK DOOR United Kingdom
BAKMAK Germany
BANDHADA Chile
BANDVIVIL Japan
BANGTOWER Multi-National
PETER BANKS United Kingdom
BARCELONA TRACTION Spain
PETER BARDENS' MIRAGE United Kingdom
IL BARICENTRO Italy
RANJIT BAROT India
BAUHAUS Italy
JEFF BECK United Kingdom
BEDJABETCH France
BELLA BAND Italy
BEN United Kingdom
BERITS HALSBAND Sweden
ALESSANDRO BERTONI Italy
BLACK LADDER United States
ALAIN BLESING France
CARLA BLEY United States
BLIXT Multi-National
BLOOD SWEAT & TEARS United States
BLUE DRIFT United Kingdom
BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) Czech Republic
BLUE SUN Denmark
BOHEMIA Czech Republic
CELINE BONACINA France
BONFIRE Netherlands
BOUD DEUN United States
BOUNTY United States
GARY BOYLE United Kingdom
BOZON United States
BOZZIO LEVIN STEVENS United States
BRAINCHILD United Kingdom
BRAINSTORM Germany
BRAND X United Kingdom
THE BRECKER BROTHERS United States
EVAN BREWER United States
NILI BROSH United States
BROTHER APE Sweden
BROWN VS BROWN Netherlands
JACK BRUCE United Kingdom
BRUFORD LEVIN UPPER EXTREMITIES United States
BILL BRUFORD'S EARTHWORKS United Kingdom
BILL BRUFORD United Kingdom
DEWA BUDJANA Indonesia
BURNIN' RED IVANHOE Denmark
BUSHMAN'S REVENGE Norway
BWANA Nicaragua
CAB United States
CAMEMBERT France
JORGE CAMPOS Chile
FRANCIS CANG Philippines
GADI CAPLAN Israel
ALAIN CARON Canada
CARPATHIA PROJECT Hungary
CASH PONY United States
CENTIPEDE United Kingdom
CEREBUS EFFECT United States
CHAD SMITH'S BOMBASTIC MEATBATS United States
DENNIS CHAMBERS United States
CHAMELEON Sweden
CHASE United States
CHEIRO DE VIDA Brazil
CHICAGO United States
CHUTE LIBRE France
CINCINNATO Italy
CIRCUS United Kingdom
CIVILIANS United States
CLAREON United States
STANLEY CLARKE United States
NELS CLINE United States
BILLY COBHAM United States
ORNETTE COLEMAN & PRIME TIME United States
STEVE COLEMAN United States
COLOSSEUM United Kingdom
COLOSSEUM II United Kingdom
COMA Denmark
COMPANYIA ELÈCTRICA DHARMA Spain
CONFUSION Greece
BILL CONNORS United States
CONTEMPORARY NOISE SEXTET / QUARTET / QUINTET Poland
GIANFRANCO CONTINENZA Italy
CONTINUUM Multi-National
CONTREVENT Canada
CONTUSION Argentina
COPERNICUS CROW United States
CHICK COREA ELEKTRIC BAND United States
CORONARIAS DANS Denmark
LARRY CORYELL United States
CURT CRESS Germany
CRIMSON JAZZ TRIO United States
DAVID CROSS United Kingdom
CRY FREEDOM Germany
CRYPTO Netherlands
CYKLUS Germany
CYMANDE Multi-National
CYMBALIC ENCOUNTERS United States
CZAJKOWSKI MINNEMANN United States
D.F.A. Italy
DARK Multi-National
MILES DAVIS United States
KOEN DE BRUYNE Belgium
LOUIS DE MIEULLE France
DEDALUS Italy
DEFUNKT United States
JACK DEJOHNETTE United States
DEMON FUZZ South Africa
DEN ZA DEN Yugoslavia
DENNIS Germany
DESATANUDOS Argentina
DEUS EX MACHINA Italy
AL DI MEOLA United States
MCLAUGHLIN AND DE LUCIA DI MEOLA Multi-National
DISCORDIAN SOCIETY United States
DIXIE DREGS United States
DJABE Hungary
DJAMRA Japan
DON GATO Peru
VIRGIL DONATI Australia
DOUBT United Kingdom
BOB DOWNES' OPEN MUSIC United Kingdom
DR. DOPO JAM Denmark
DREAMS United States
DROBAN-APHERNA Portugal
DUELLO MADRE Italy
JOEL DUGRENOT France
GEORGE DUKE United States
DZAMBLE Poland
E MOTIVE United States
EAST WIND POT Japan
EDGE United Kingdom
EDITION SPÉCIALE France
EDO Canada
EELA CRAIG Austria
ELECTROMAGNETS United States
ELEPHANT9 Norway
DON ELLIS United States
EMBRYO Germany
EMERGENCY Multi-National
ENERGIT Czech Republic
ENERGY OF SOUND United States
ERGO United States
ERGO SUM France
ESAGONO Italy
ESSENTIAL HAZARD United States
ETNA Italy
EVOLUCIÓN Chile
EX VITAE France
EXAMPLES OF TWELVES United Kingdom
EXMAGMA Germany
EXTRA BALL Poland
EYOT Serbia
EZOO Multi-National
ANTOINE FAFARD Canada
YIORGOS FAKANAS Greece
FANG CHIA United States
FANTASIA CROMATICA Argentina
FARMERS MARKET Norway
FEAT. ESSERELÀ Italy
FEEDBACK Slovenia
FENOMEN Turkey
FERMÁTA Slovakia
FICTION United States
FINNFOREST Finland
FIRE MERCHANTS United Kingdom
FIRYUZA Turkmenistan
A FISH'S DIVING SUIT Germany
DAVID FIUCZYNSKI United States
FLAMENGO Czech Republic
FLAT 122 Japan
BELA FLECK AND THE FLECKTONES United States
FORGAS BAND PHENOMENA France
PATRICK FORGAS France
THE FOURTH WAY United States
THE FOWLER BROTHERS (AIR POCKET) United States
FRAGILE Japan
FRAGMENT37 United States
FREAKZOID United States
FREE WAVE SYSTEM Italy
FREEHAND United States
BILL FRISELL United States
FROGG CAFE United States
FUGU France
FULANO Chile
FULLMOONS Greece
G.A.O.S. Japan
GALLIARD United Kingdom
GAMALON United States
GARAGE A TROIS United States
GARAJ MAHAL United States
JAN GARBAREK Norway
AL GARCIA United States
GARLIC Italy
ROBERT GENCO Italy
GENRE United States
IAN GILLAN BAND United Kingdom
GIS MAJ ES Serbia
CHRISTOPHE GODIN France
GOLD United States
GOLDEN AVATAR United States
GONGZILLA Multi-National
GOOD GOD United States
JERRY GOODMAN United States
GORO WINS Argentina
GUTHRIE GOVAN United Kingdom
GOZZOZO France
GRAND GENERAL Norway
LE GRAND NEBULEUX France
JACQUES LA GRECA France
GRIMACE FEDERATION United States
GRITS United States
MUCK GROH Germany
GROTESK Germany
GROUP 87 United States
THE GROUP Finland
GUADALQUIVIR Spain
GUILLAUME PERRET & THE ELECTRIC EPIC France
WLODZIMIERZ GULGOWSKI Poland
GUNESH ENSEMBLE Turkmenistan
GURTH Spain
JUKKA GUSTAVSON Finland
VASIL HADZIMANOV BAND Serbia
MARY HALVORSON United States
JAN HAMMER United States
HERBIE HANCOCK United States
HANSFORD ROWE COLLECTIVE United States
JON HASSELL United States
HEAD United Kingdom
HEADBAND Germany
HEAVEN United Kingdom
DICK HECKSTALL-SMITH United Kingdom
HECTIC WATERMELON United States
RONNY HEIMDAL Norway
JONAS HELLBORG Sweden
A HELMET OF GNATS United States
EDDIE HENDERSON United States
ALEJANDRO HERRERA Argentina
JAKE HERTZOG United States
DAVID HINES United States
ALLAN HOLDSWORTH United Kingdom
HOOFFOOT Sweden
HOWEVER United States
HUGHSCORE United Kingdom
HUMAN ELEMENT United States
GARY HUSBAND United Kingdom
I KNOW YOU WELL MISS CLARA Indonesia
IBIS Sweden
ICARUS United Kingdom
ICEBERG Spain
ICONOCLASTA Mexico
IF United Kingdom
IGZIT-NINE Japan
IMÁN CALIFATO INDEPENDIENTE Spain
IMPACT FUZE Russia
IMPULS Czech Republic
INNER DRIVE Russia
IRON KIM STYLE United States
JOHN IRVINE United Kingdom
ISOTOPE United Kingdom
IZVIR Yugoslavia
RONALD SHANNON JACKSON United States
JAGA JAZZIST Norway
JAM CAMP United States
BENNY JANSSON Sweden
JARKA Spain
JAZZ PISTOLS Germany
JAZZ Q Czech Republic
JINETE AZUL Argentina
JENS JOHANSSON Sweden
ALPHONSO JOHNSON United States
JOIN IN Germany
Hungary
JULIAN JULIEN France
JUPU GROUP Finland
JUTRO Yugoslavia
KADA Hungary
KALEIDON Italy
KANDAHAR Belgium
KARCIUS Canada
KASEKE Estonia
KBB Japan
KEHELL Japan
KENNEDY Japan
KENSO Japan
KICK THE CAT United States
KLAN Poland
KORNET Sweden
KORNI GRUPA / KORNELYANS Yugoslavia
KOSTAREV GROUP Russia
KRAAN Germany
KRABAT Germany
KRAKATOA United States
WAYNE KRANTZ United States
KRÉ Venezuela
VOLKER KRIEGEL Germany
KROKOFANT Norway
KUJAKUON Japan
KUMINA.ORG Finland
KUNDALINI Sweden
LA DESOOORDEN Chile
LABORATORIUM Poland
LAND OF CHOCOLATE United States
SHAWN LANE United States
LASTING WEEP Canada
LEB I SOL Yugoslavia
LEHMEJUM Brazil
LEPRECHAUN Chile
CHRIS LETCHFORD United States
TONY LEVIN United States
LIGHTHOUSE Canada
LIGRO Indonesia
LINDWURM Germany
LIVING LIFE Italy
DIDIER LOCKWOOD France
THE LONELY BEARS Multi-National
LOTUS Sweden
RENAUD LOUIS GROUP France
LUMINA Brazil
MAAD Italy
JOHN MACEY United States
MACHINE AND THE SYNERGETIC NUTS Japan
MACHINE MASS Multi-National
MACKENZIE THEORY Australia
MADE IN SWEDEN Sweden
MAELSTROM United States
MAGNETIC SOUND MACHINE Italy
MAHAGON Czech Republic
MAHAVISHNU ORCHESTRA Multi-National
MAHAVISHNU PROJECT United States
MAHJUN France
MAHTRAK Brazil
DIDIER MALHERBE France
SEAN MALONE United States
MAN DOKI SOULMATES Multi-National
MANDRILL United States
MANEIGE Canada
MANFRED MANN'S CHAPTER THREE United Kingdom
MANOGURGEIL Finland
MICHAEL MANRING United States
MICHAEL MANTLER Austria
MAR DE ROBLES Chile
MARBIN Multi-National
THOMAS MARRIOTT United States
MASCHERE VUOTE Italy
MATERIAL United States
MATHEMATICIANS United States
MATS-MORGAN (BAND) Sweden
BENNIE MAUPIN United States
MCGILL MANRING STEVENS United States
SCOTT MCGILL United States
JOHN MCLAUGHLIN United Kingdom
MCLUHAN United States
MECKI MARK MEN Sweden
MEDESKI MARTIN & WOOD United States
MEDIABANDA Chile
MEGAN QUARTET Estonia
MENTAT ROUTAGE France
METALWOOD Multi-National
METAMORFOSIS Spain
PAT METHENY United States
CARLO MEZZANOTTE & SYNTAXIS Italy
MISA MICEVSKI Serbia
RIGEL MICHELENA Venezuela
MICKYLEE Serbia
MIDNIGHT SUN (RAINBOW BAND) Denmark
RADOMIR MIHAJLOVIC TOCAK Yugoslavia
BARRY MILES United States
MIND GALLERY Canada
MINDFLOWERS Hungary
MINOKE? Japan
MIRAGE France
MISSING LINK Germany
MISSUS BEASTLY Germany
MIST SEASON Finland
THE MISTAKES United States
TOSHIYUKI MIYAMA & HIS NEW HERD / MASAHIKO SATOH Japan
MOGUL THRASH United Kingdom
MOIRA Germany
NILS PETTER MOLVÆR Norway
MOMBASA Multi-National
MONGOL Japan
MONSIEUR DUBOIS Netherlands
MOOGG Italy
MOOSE LOOSE Norway
MORAZ & BRUFORD Multi-National
MORPHEUS Germany
ALAN MORSE United States
MORSOF Japan
MORTA Canada
MOUSE ON THE KEYS Japan
ZUZO MOUSSAWER Brazil
ALPHONSE MOUZON United States
MUSICA URBANA Spain
MYSTERIES OF THE REVOLUTION United Kingdom
NADOIEDA Italy
NANU URWERK Germany
MAREK NAPIORKOWSKI Poland
NAPOLI CENTRALE Italy
NATHAN MAHL Canada
NATSUMEN Japan
NDIO Netherlands
NEXT ORDER Japan
NGUYÊN LÊ France
NIACIN United States
NIMA & MERGE United States
NOA Japan
NOETRA France
NOVA Italy
NUCLEUS United Kingdom
Ô-LIOSTÉRE France
OCTOBER United States
ODRAREG Venezuela
L' OEIL DU SOURD France
OHM United States
OHMPHREY United States
ONE SHOT France
ÁNGEL ONTALVA Spain
OPA Uruguay
OPUS-5 Canada
L' ORCHESTRE SYMPATHIQUE Canada
OREGON United States
OSIBISA Ghana
MAGNUS ÖSTRÖM Sweden
KIYOMI OTAKA Japan
OTIS GROVE United States
OTOWALA United States
OUT OF FOCUS Germany
OUTRE MESURE France
THE OWL WATCHES United States
OZONE QUARTET United States
PAIENS Canada
PANAMA RED Germany
PANOPTICON Belgium
PANTA RHEI Germany
PANZERBALLETT Germany
PARALLEL MIND United States
PARANOISE United States
BARBARA THOMPSON'S PARAPHERNALIA United Kingdom
HERMETO PASCOAL Brazil
PASSPORT Germany
JACO PASTORIUS United States
PATTO United Kingdom
PEPERI PARTUM Argentina
PERIGEO Italy
MIKI PETKOVSKI Yugoslavia
PHLOX Estonia
PI-ER-2 Poland
PINK FREUD Poland
PLACEBO Belgium
PLANET X United States
PLANETA IMAGINARIO Spain
PLINI Australia
PEKKA POHJOLA Finland
JEAN-LUC PONTY France
COZY POWELL United Kingdom
POWER TOOLS United States
PREDMESTJE Yugoslavia
PRIAM France
JULIAN PRIESTER United States
PRIORITY Japan
PRISMA X Chile
PROBE 10 United States
LES PROJECTIONNISTES Canada
PROTEUS United States
PSI Germany
PSICOMAGIA United States
PSP (PHILLIPS SAISSE PALLADINO) Multi-National
PSYFUNETIK Germany
PTF Japan
PUPPENHAUS Germany
PURPLE CERISE EXPERIENCE Canada
QUARTIK Canada
QUARTO SENSORIAL Brazil
QUASAR Australia
QUASER Japan
QUI Japan
R-11 Italy
RA QUINTET United States
RADIUS United Kingdom
RAGA BOP TRIO United States
RAHMANN France
RAINS Italy
RAYUELA Argentina
THE REAL AX BAND Germany
REFORM Sweden
XAVI REIJA Spain
RELEASE MUSIC ORCHESTRA Germany
RENAISSANCE SOUND United States
RESIDENTS OF THE FUTURE Multi-National
RETURN TO FOREVER United States
RHESUS O France
JEFF RICHMAN United States
RIFF RAFF United Kingdom
ROBOTOBIBOK Poland
ROCK JOINT Japan
ROHMER Italy
DAVID ROSE United States
ROUGH RAMBLERS United Kingdom
ROUND HOUSE Japan
RUDDER United States
TERJE RYPDAL Norway
SALAIVA Finland
SAM (SLICK ALEXIUS MENNIGMANN) Germany
DAVID SANCIOUS United States
SANTANA Multi-National
CARLOS SANTANA Mexico
DON SCHIFF United States
ART SPIKE SCHLOEMER United States
SCHÖNFELD United Kingdom
SCHOOL OF THE ARTS United States
KRZYSZTOF SCIERANSKI Poland
JOHN SCOFIELD United States
SCOPE Netherlands
SCREAMING HEADLESS TORSOS United States
SECRET OYSTER Denmark
SELECTRIC United Kingdom
TONY SENATORE United States
SEPTEMBER Yugoslavia
DEREK SHERINIAN United States
SHIBUSASHIRAZU Japan
THE SHIN Georgia
SHIVANANDA Switzerland
WAYNE SHORTER United States
SIMAK DIALOG Indonesia
SIX NORTH Japan
SIXUN France
DET SKANDALØSE ORKESTER Norway
SKIN ALLEY United Kingdom
SKYWHALE United Kingdom
SLIVOVITZ Italy
SLOCHE Canada
THE SLOWMOVIES Italy
SMAK Yugoslavia
NATHAN PARKER SMITH United States
SNOWBALL Germany
SOLAR PLEXUS Sweden
SOLIS LACUS Belgium
SOLSTICE Canada
SOLUTION Netherlands
SOMBRE REPTILE France
SONCNA POT Yugoslavia
SPACE CIRCUS Japan
SPACED OUT Canada
SPACES United States
TONY SPADA United States
SPECIAL OTHERS Japan
SPECTRUM ROAD Multi-National
SPEED LIMIT France
SPHERE 3 United Kingdom
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